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These two canvases of Aristotile's, because of his having taken them bodily from that place, were little extolled; but, on the other hand, he was well praised for all that he did in Florence for the entry of Pope Leo, making, in company with Francesco Granacci, a triumphal arch opposite to the door of the Badia, with many scenes, which was very beautiful.

Ducats 10 of gold, full weight." This payment was made by Michael Angelo. The second receipt of Rosselli for fifteen ducats was made out on May 24, to Francesco Granacci, so he was already in Rome, helping his friend. The next payment of ten ducats was also made by Granacci on June 3, and another on June 10.

His first flight from the workshop of Ghirlandajo was to the gardens of the great Florentine prince, Lorenzo de' Medici, who had sent to Ghirlandajo for two of his best pupils. He wished them to come to his gardens and study the beautiful Greek statues which ornamented them. The choice fell to Angelo and Granacci.

Then, after they had been companions together in the workshop of Domenico Ghirlandajo, it came to pass that Granacci, because he was held to be the best of Ghirlandajo's young men, the strongest draughtsman, and the one who had most grace in painting in distemper, assisted David and Benedetto Ghirlandajo, the brothers of Domenico, to finish the altar-piece of the high-altar in S. Maria Novella, which had been left unfinished at the death of the same Domenico.

It was the practice, both at the Carnival and on other occasions, to represent the triumphs of ancient Roman commanders, such as that of Paulus Aemilius under Lorenzo the Magnificent at Florence, and that of Camillus on the visit of Leo X. Both were conducted by the painter Francesco Granacci.

Amongst his familiar friends was Francesco Granacci, a scholar of Domenico del Grillandaio, who, seeing the ardent longing and burning desire of the child, determined to aid him, and continually exhorted him to the study of art, now lending him drawings and now taking him with him to the workshops of his master when some works were going forward from which he might learn.

The former writes as follows: "So then the boy, now drawing one thing and now another, without fixed place or steady line of study, happened one day to be taken by Granacci into the garden of the Medici at San Marco, which garden the magnificent Lorenzo, father of Pope Leo, and a man of the first intellectual distinction, had adorned with antique statues and other reliques of plastic art.

Like Piero di Cosimo, Granacci was a great hand at pageantry, and Lorenzo de' Medici kept him busy. He was not dependent upon art for his living, but painted for love of it, and Vasari makes him a very agreeable man. Here too is Gio. This painter seems to have had the same devotion to his master, Lorenzo di Credi, that di Credi had for his master, Verrocchio.

Granacci also made, besides other things, a most beautiful triumphal arch opposite to the door of the Badia, covered with scenes in chiaroscuro and very lovely things of fancy.

My name is Benvenuto, the son of Maestro Giovanni Cellini; my mother was Maria Lisabetta, daughter to Stefano Granacci; and both my parents were citizens of Florence. My ancestors lived in the valley of Ambra, where they were lords of considerable domains; they were all trained to arms, and distinguished for military prowess.